Showing posts with label Gregorian Chant. Show all posts
Showing posts with label Gregorian Chant. Show all posts

Monday, 16 May 2011

FULL FLOWER MOON (17 May 2011)

The musick dedicated to this Esbat is:

ROSEMARY'S BABY

ANDREW WOODHOUSE


Original Issue: 1986 Ricerche Studi Babalon (RSB 3/7)

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Margot-meter: 4,5 moons / 5

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from L'Erba della Strega (Google automatic translation from Italian):

From the beginning of its work, RSB said to put the TOPY as a starting point and not necessarily of arrival.

This implied the fact that prior to putting in the fruit of his research could be of any type and not necessarily on one side or the other for stupid statement.

With the completion of this project, "Andrew Woodhouse is immediately and permanently ended the research studies Babalon and his work as TOPY Italian, also comes to an end the existence of Rosemary's Baby, a subsidiary of the music more complex project RSB : Babalon was researched and studied and, at the present time was recognized.

Below we publish the results.

RSB - July 1986



This is the statement that opens the book contained in the final production of Rosemary's Baby: The LP Andrew Woodhouse. After only a couple of years, as the group bids farewell to his supporters, admirers and followers, exalted, and not trendy. Print run 500 copies of the disc, 250 in free distribution. The title itself symbolizes the change took place in the group: in the film Rosemary Andrew is the name that would give his son, and will ultimately be called Adrian. Nearly a change of course.

Disk and the words contained in the booklet and in the letters that he wrote about Pierre, he could talk for pages, but I remember the premise made at the beginning of the article. I have uncovered the tomb where rests Rosemary's Baby, I tried to describe their past life, but I do not want to completely remove the veil that envelops the body. This we can do each of us if interested and with his head.

What is certain is that the project had actually worked well, the purpose of study and research had been fully pursued and at the time had come to maturity of the ideas with the point from which he had left had little to do. The results mentioned in the statement are not disclosed. Instead, they are presented as extracts from books by various authors, among which is expected to emphasize the preponderance of the quotations from the works of Rene Guenon: its opinions on the psyche and the magic, the modern world and human development.

The entire A side of the disc is occupied by an impressive cover of "The End" The Doors, re-run in a tribal, ethereal, dreamy, full of percussion and never disturbing and oppressive as it could be a "... The power of love." You find yourself floating in a smoky haze for the duration of the piece, even more exciting final for the registration of which the Rosemary's Baby have used some tools used by Tibetan monks for the last piece of the B-side The text is modified, you can read all handwritten in a copy of a calendar page dated July 3 (death of Jim Morrison ...), also attached to the disk. Text not changed at random, as Pierre explains in one of his last letters.

The B side is instead of three recordings. "ENI," Byzantine chant sung and celebrated in the Monastery of Xenophontos. "La ilaha illallah" Muslim who obsessively repeats the song title, which sounds like "There is no god but Allah." "Swayambunath" recording of a song made by Tibetan R'sB in the temple of Swayambhunath.

Pierre closes one of his last letters with the phrase "Seek the Lord." I believe that reflecting on this fact and the three songs that Rosemary's Baby have decided to include in the B side of the disc, you can guess what was the road that they were trying to take at that time.

Sunday, 13 March 2011

FULL WORM MOON (19 March 2011)

The musick dedicated to this Esbat is:

IN SLAUGHTER NATIVES

IN SLAUGHTER NATIVES


Original Issue: 1988 Cold Meat Industry (CMI-04)

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Margot-meter: 4,5 moons / 5

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Swedish industrial act, formed by Jouni Havukainen in 1985. ISN has used many different sounds over the years, from dark ambient soundscapes to martial industrial stompage to neoclassical orchestration.

Wednesday, 16 April 2008

SACRIFICE MOON (offering musick)

kindly donated by Craig S.

REVOLUTIONARY ARMY OF THE INFANT JESUS
THE GIFT OF TEARS

Original Issue: 1987 Probe Plus (PROBE 12)


Margot-meter: 4,5 moons / 5

1 Come Holy Spirit (9:29)
2 Tales From Europe (4:06)
3 The Miller (4:09)
4 De Profundis (3:37)
5 The Singing Ringing Tree (2:06)
6 Beauty After The Fall (9:16)
7 The Dream (4:47)
8 Lament (Ashes In The Water) (3:11)
9 Transfiguration (5:31)
10 Communion (3:14)

from Opuszine (find more here and here!)

“Mystery”, “whimsy”, “confusion”, and “otherness” are all words that could easily be applied to the strangely-named Revolutionary Army Of The Infant Jesus (indeed, if the name alone made you roll your eyes, you may just want stop here).

The Liverpool-based RAIJ is often lumped in with the rest of the “apocalyptic/experimental folk” genre, alongside groups such as Current 93, Death In June, Sol Invictus, and The Moon Lay Hidden Beneath A Cloud.

Like those artists, RAIJ’s music is a blend of folksy, acoustic instrumentation, cryptic lyrics full of sacred/apocalyptic imagery, and trance-like vocals that seem more like invocation. However, the band also incorporates ambient and industrial sounds a la Les Joyaux de la Princesse, as well as plenty of samples from European films (Andrei Tarkovsky and Jean Cocteau seem to be as big an influence as anything), old Russian speeches, and tattered radio broadcasts.

from Amazon

This record is easily one of my favorite albums of all time. It's proof of an unjust world that this album has scarcely been available over the past ten years. Except those rare copies offered at prices of an arm and a leg.

Eschewing economics, the beautiful music of RAIJ has bucketloads of passion, mystery, innocence, and is rife with an adventurous spirit of experimentation. You can literally hear the joy in their musical discoveries, from track to track. In it, you'll hear a valid attempt invoking the spirit of Europe: From otherworldly Gregorian-style chants to madrigal acoustic guitars/flutes to echo-chamber percussion and floating electronic soundscapes, even excerpts from Cocteau's movie ORPHEE. That is, a musical journey from medieval times to our electronic era. And it's breathtaking to hear such imaginal leaps through their sound.

It wouldn't be too off the mark to consider their music in the "apocalyptic folk" tradition of, say, Current 93, Death In June, etc. And like this style, it takes acoustic instruments and collides them with electronic manipulations. But this collision is done in a way that is totally singular and without peer.

Only an anarcho-Christian collective like them could have brought all of these elements together: Acoustic-electronic, innocence-wisdom, lucidity-confusion, Christian-pagan.

Michael Thomas Jones

Sunday, 23 March 2008

MEDITATION MOON (OM musick)

MICUS STEPHAN
ATHOS (A JOURNEY TO THE HOLY MOUNTAIN)

Original Issue: 1994 ECM ( ECM 1551) Buy it here!!!


Margot-meter: 4 moons / 5

01 - On The Way
02 - The First Night
03 - The First Day
04 - The Second Night
05 - The Second Day
06 - The Third Night
07 - The Third Day
08 - On The Way Back (2 Bavarian Zithers, Sattar, 11 Voices)

from Celebforu.com:

Athos is a 1994 album produced by Stephan Micus for ECM. Based on a three-day visit to Mount Athos, in it Micus tries to capture his experiences with the Greek Orthodox liturgy he experienced in the monasteries there, framing it with pieces that evoke his emotions at going to and leaving the isolated peninsula. Between them he recreates the liturgical experience of the services over the three days he was there, in six alternating pieces of night and day.

As in his other works, Micus uses a combination of traditional instruments from various cultures to capture the feel of the monastery. These include the sattar (a bowed 10-string instrument used by the Uyghur people), the shakuhachi (a Japanese bamboo flute), the suling (a reed flute from Bali), the ney (a Middle Eastern flute), and even 22 flowerpots, filled with water, which he plays with his hands and with mallets. These instruments are only used in the pieces representing the days on Mount Athos. To emulate the Greek Orthodox tradition of not using musical instruments in their services, his pieces devoted to the nights are performed by a 22-man choir singing prayers to the Virgin Mary.